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fully the Viseṣa Lakṣaṇas of the Gunas or individual Guna so as to realise its position and function in poetry.
Hemachandra's general definition of the Guna has presented to us the poetic excellence in its broad character, viz., that it belongs to Rasa; but, to form a definite idea about the nature of the element, we need some further light in the form of the Viseṣa Lakṣaṇa. Now, since Hemachandra has defined and discussed Nine Rasas, the question arises: Does a particular Guna belong to all the Rasas or only to some of them? And, in what sense can it be said to belong to the Rasas ?
Hemachandra sets about replying to these questions in the course of his discussion in the body of the text. The method of treatment adopted here is (a) to define each of the three Gunas first, and then (b) to show its relation to the particular Rasas and then (c) to lay down the characteristic conditions of that Guna with illustrations and counterillustrations.
Thus in Sutras 2, 3 and 4 of chapter four, our author deals with the excellence called Madhurya or Sweetness or Delectability. Madhurya is that quality which causes the heart of a reader to melt. Now Mammața uses the words "Ahladakatvam madhuryam śṛngare drutikaraṇam". So Hemachandra's words 'Drutihetur madhuryam śṛngare' represent Mammata's definition verbatim sans the single expression Ahladakatvam which is an explanatory term for Madhurya. Otherwise Mammața and Hemachandra agree in holding that Delectability or Madhurya (is sweetness which) causes melting (of the heart) in the Erotic sentiment. In other words, Madhuryaguna is predominantly found in a poem containing the Sṛngararasa (i.e., Sambhogaśṛngāra). Like Mammata, who adds in the gloss that the word Druti (melting) means, as if, the heart is dissolving, Hemachandra also uses the words Ardrata (used by Anandavardhana and explained by Abhinavagupta) and 'Galitatvam iva' to explain the word Druti in the Sutra (IV. 2). The gloss mentions that Madhurya is also the quality of Rasas
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